‘Only Murders in the Building’ combines crime, cuteness
First episode impressions (TV review): For a dark comedy, this murder serial is warm-hearted. The subtle humor is a delight, and the mystery is compelling.
‘Only Murders in the Building’ combines crime, cuteness
I can’t be-‘Grudge’ (2004) this J-horror remake’s success
Frightening Friday (Movie review): Takashi Shimizu remakes his own “Ju-On,” adding the lonely Americans-in-Tokyo aspect. But the creepy mood again dominates.
‘Tuck Everlasting’ (2002) an ageless children’s classic
Throwback Thursday (Movie review): This adaptation of Natalie Babbitt’s novel will engross kids of a certain age, but adults might find it lacks surprises.
‘He’s All That’ a cute modern riff on the old story
Movie review: This gender-swapped reimagining of “She’s All That” is not a straight-up replay. Still, it’s less substantial than the original.
‘September’ (1987) digs into the change of life’s seasons
Woody Wednesday (Movie review): Allen improves on “Interiors” with a short but deep film about six adults entangled in family and romance dramas.
‘Prey’ (2002) predicts chilling end for humanity
Michael Crichton Monday (Book review): Bringing back dinosaurs is scary. Creating swarms of nanoparticles might be scarier still, as Crichton demonstrates.
Marple says ‘trust no one’ in ‘Body in the Library’ (1942)
Sleuthing Sunday (Book review): Miss Marple’s filter of what’s important in a case is fine-tuned in her long-awaited second novel.
‘Candyman’ saga spoils with ‘Day of the Dead’ (1999)
Summoning ‘Candyman’ (Movie review): Again, Candyman torments someone into joining him in the afterlife. It was better the previous two times.
‘Candyman: Farewell to the Flesh’ (1995) covers old ground
Summoning ‘Candyman’ (Movie review): The second “Candyman” is a remake as much as a sequel. But it maintains a decent level of technical quality.
‘Candyman’ (1992) makes beautiful art out of hopelessness
Summoning ‘Candyman’ (Movie review): Like “Hellraiser,” this Clive Barker-produced urban-horror project is driven by its artistry. Here, the score by Philip Glass stands out.